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In Four Parts

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teoria muzyki (1)
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In Four Parts znajdziesz w 4 publikacjach wymienionych poniżej:


Okładka: McGrain Mark, Music Notation

cena 159,95 zł.


nuty.pl

 McGrain Mark
 Music Notation

polski Teoria i technika notacji muzycznej
angielski Music Notation - Theory and Technique for Music Notation


Ilość stron:216
Format:230 x 305
Opracowanie na:teoria muzyki
Rodzaj produktu:książka
Wersja językowa:wstępu: angielska
opisów: angielska
Dostępnośćw magazynie, wysyłka natychmiastowa
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Kod produktu:NPL065030

Przewodnik po teorii muzyki - zawiera wszelkie niezbędne zagadnienia dotyczące notacji muzycznej, m. in. rytmu, artykulacji, dynamiki, metrum, itp. Książka zawiera 13 rozdziałów tematycznych - każdy z nich posiada oddzielne terminologie i ćwiczenia.


Learn the essentials of music notation, from fundamental pitch and rhythm placement to intricate meter and voicing alignments. This book also covers the correct way to subdivide rhythms and notate complex articulations and dynamics. An excellent resource for both written and computer notation software!


Spis treści:

Introduction
Equipment
Chapter One: Sound Envelopes and the Notation Grid
Sound Description
The Staff
Leger Lines
Clefs
The Treble Clef
The Bass Clef
The Percussion Clef
The Alto and Tenor Clef
Placement of Clefs
The Great Staff
Homework
Additional Practises:
New Notation for New Sounds
Specific Percussion Clefs
Other Moveable C Clefs
Hybrid Clefs
Chapter Two: Fundamental Rhtyhmic Description
Note - heads
Stems
Stem Length
Stem Direction
Stem Length in Leger Lines
The Quarter Rest
The Half Rest
The Whole Rest
Percussion and Rhtyhm Note - heads
Homework
Additional Practices
Other Percussive Note - heads
Chapter Three: Fundamental Pitch Description
Placement of Notes on the Staff
Accidentals
Flats
Sharps
Naturals
Double Flats
Double Sharps
Spacing of Note - heads in Regard to Accidentals
Key Signatures
Application of Accidentals
The Logic of Accidentals
Courtesy Accidentals
Key Changes
Homework
Additional Practises
Logic of Accidentals
Null Key Signatures
Chapter Four: The Notational Grid: Conclusion
The Three Regions of the Staff
Measures
Barlines
Single Barlines
Double Barlines
The "fine" Barline
Braces and Brackets
Homework
Additional Practices
Changes of Clef
Chapter Five: Time Signatures, Meter, and Tempo
Time Signatures
Placement of Time Signatures
"Common Time" and "Cut time"
Changes Meter
Metric Placement of Note - heads and Rests
Alignment
Tempo Markings
Changes of Tempo
Homework
Additional Practices
Types of Rhythm
Metrical Rhythm
Changing Between Simple Time and Compound Time
Change of Pulse Note - value
Chapter Six: Rhythmic Subdivision of the Pulse
Flags
Beams
Application of Beams
Stem Direction of Beamed Note Groups
Beam Slant
Homework
Chapter Seven: Rhythmic Subdivision of the Pulse: Continued
Horizontal Beams
Primary Beams
Secondary Beams
Broken Secondary Beams
Syncopation
Borrowed Metric Groupings
Homework
Additional Practices
"Midway" Beaming of Note Groups
Beams as Indicators of Phrasing
Chapter Eight: Rhythmic Subdivision of the Pulse: Concluded
The Eighth Rest
The Sixteenth Rest
The Whole Measure Rest
Ties
Augmentation Dots
Dotted Rests
Rests in Compound Meters
Homework
Aditional Practices
Smaller Value Rests
Ties Attending Voicings
Triple Augmentation Dots
Chapter Nine: Holds, Pauses, and Repeats
Fermatas
Pauses
Caesuras
Fermatas Attending Caesuras
Multiple Measure Rests
Repeat Brackets
Repeat Endings
Single Measure Repeats
Double Measure Repeats
Da Capo and Dal Segno
al fine and al Coda
Homework
Additional Practices
Fermatas Attending Barlines
The "Grand Pause"
Tacet
Third Repeat Endings
Single Pulse Repeats
Col
Chapter Ten: Chords, Voicings, and Divisi Parts
Chord Symbols
Parenthetical Tensions
Inversions and Pedals
Voicings
Alignement of Accidentals
Divisi Parts
Octave Signs
Homework
Additional Practices
Hybrid Chords and Polychords
Divisi Parts: Continued
Coll' 8va and Coll' 8vb.
Chapter Eleven: Dynamics
Location of Dynamic Information
Dynamic Level Markings
Dynamic Terminology
Wedges
Homework
Additional Practices
Location of Dynamics
Combined Dynamic Level markings
Change of Dynamic :evel on Repeated Sections
Chapter twleve: Articulation
The "Unarticulated Note"
Accent Marks
Staccato Marks
Legato / Tenuto Marks
Plavement of Accent, Staccato, and Legato Markings
Slurs
Breath Marks
Accent Terminology
Idiomatic Considerations
Homework
Additional Practices
Combining Accents with Staccato and Legato Markings
Combining Accent, Staccato and Legato Markings with Slurs
Combining Accent Terms with Dynamics
Chapter Thirteen: Ornaments
The Portamento
The Glissando
Trills
Tremolos
The Unmeasured Tremolo
The Measured Tremolo
Grace Notes
Arpeggios
Turns
Bends
Homework
Additional Practices
Cues
I: Names of Instruments with Abbreviations
II: Score Layout
III: Instrumental Transpositions
IV: Glossary of European Musical Terms
Okładka: Finney Ross Lee, Making Music, The Time - Line, Vol. 1

cena 110,95 zł.


nuty.pl

 Finney Ross Lee
 Making Music, The Time - Line, Vol. 1

polski Tworzenie muzyki, Linia czasu, z. 1
angielski Making Music, The Time - Line, Vol. 1


Ilość stron:82
Format:224 x 296
Opracowanie na:książka
Rodzaj produktu:książka
Wersja językowa:tłumaczenia: angielska
Dostępnośćw magazynie, wysyłka natychmiastowa
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Kod produktu:NPL068572

Ross Lee Finney (1906 - 1997) to amerykański pedagog, kompozytor, uczeń m. in. Nadii Boulanger, Albana Berga i
Rogera Sessionsa. Korzystając ze swojego długoletniego doświadczenia w nauce kompozycji Finney stworzył podręcznik w trzech częściach dla początkujących kompozytorów. W części pierwszej zawarł szereg praktycznych wskazówek: od podstaw instrumentacji i instrumentoznawstwa (szczególnie instrumenty perkusyjne) po ogólne zasady prawidłowego kształtowania dzieła muzycznego - jego melodii i harmonii oraz innych elementów. Kompozytor nie opierał się jednak na klasycznych, ugruntowanych przez tradycję regułach - jego celem było ukazanie współczesnego warsztatu kompozytorskiego z własnego punktu widzenia. Oprócz opisów słownych w książce znajduje się wiele własnych kompozycji Finneya, które wyjaśniają poruszane przez niego problemy. Kompozycje te są w formie partytury możliwej do realnego wykonania (m. in. "Movement" na perkusje i fortepian, "Suspended movement" na zespół kameralny).

As the author write:"This little volume is a hybrid". It is an elementary instruction book in composing music. But it is also a performance book that can be used by a group of players interested in contemporary music. And it is invitably a reflection of Ross Lee Finney reflection of ideas and convictions about composing music formed from years of teaching experiance. This volume is the first of three. It avoids as much as possible problems of melody and harmony. There are ten pieced included in this book to illustrate not only compositional problems but also to supply music that group can perform to develope technique.

Spis treści:

Learnig to understand and use the time-line in music
Defining in the musical Time-Line
Three basic ways of orginizing and notating on the Time-Line
First composing exersice - composing for a group of simple percussion instruments
The structure of the Time-Line
Orginizing the Time-Line by using sounds, musicak punctuation and dynamics
Second composition exercise - composing a piece organized by dynamics and sounds for 3 simple percussion instruments
Musical example for Performance - Fig. 1 Study for three percussionists
Using a simple musical form - The Canon
Notation on the Time-Line
Indicating exact pitch for a voice by employing a one-line staff
Musical Example for Performance - Fig. 2 The Fat Man for 3 Voices and Bass Drum
Using the five-line staff and modern clefs to indicate exact pitches
Third composing exercise - composing a piece for voices, piano and 2 triangles
Learning some modern national techniques
Fourth composing exercise - composing piece for three voices and three simple instruments with notation indicating exact pitches in the voice parts (using Clefs), some modern national devices and improvisation
Composing for instruments that play exact pitches
Percussion instruments taht play exact pitches
Writing idiomatic music for the piano, a percussion instrument
Musical Example for Performance - Fig. 3 Prelude (Contrasts) for Piano
Fith composing exercise - Fig. 4 - composing a piece for bell, piano and tambourine
Pitch-range chart for band and orchestra instruments
The musical idea
What is a musical idea?
How the composer uses dynamics, articulation, tempo and instrumentation to develop and achive his ideas
Musical Example for Performance - Fig. 5 Shapes for Chamber Ensamble
The importance of rhythm
How interesting rhythm can revitalize meter by adding variety to the time-line and contribute to a composition's organization by repetition
Pieces for further study and performance
Figure 6 Movement for Percussion and Piano
Figure 7 Suspended movement for Chamber Ensamble
Figure 8 Images for 2 Percussionists and Piano
Figure 9 Conflict for 4 Percussionists
Figure 10 Whistles for 2 or 4 Percussionists
Okładka: Mc All May Deforest, Melodic Index to the Works of J. S. Bach

cena 254,95 zł.


nuty.pl

 Mc All May Deforest
 Melodic Index to the Works of J. S. Bach

polski Indeks melodii z dzieł Johanna Sebastiana Bacha
angielski Melodic Index to the Works of J. S. Bach
niemiecki Melodischer Index der Werke Johann Sebastian Bachs


Ilość stron:152
Format:195 x 270
Opracowanie na:książka
Rodzaj produktu:książka
Wersja językowa:wstępu: angielska, niemiecka
Dostępnośćw magazynie, wysyłka natychmiastowa
AutorzyAutor wstępu: Mc All May Deforest
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Kod produktu:NPL068734

Publikacja "Melodic Index to the Works of J.S. Bach" zawiera 3872 melodie pochodzące ze wszystkich dzieł Jana Sebastiana Bacha. Są to wyłącznie melodie z początków danych dzieł (incypity). Książka złożona jest z dwóch części. W części pierwszej - "Finding charts", autor zamieścił tabele ze schematami melodycznymi, jakie można odnaleźć w dziełach Bacha. Są to czterodźwiękowe (trzyinterwałowe) melodie, z których każda posiada oddzielny numer. Część druga książki zawiera właściwe melodie (tematy) z tytułami i numerami katalogowymi BWV, oznaczone daną cyfrą schematu melodycznego (podanego w części pierwszej). Niniejsza publikacja stanowi przede wszystkim ciekawe źródło informacji na temat kształtowania melodii w dziełach Bacha. Przybliża także całość dorobku kompozytorskiego Bacha w kontekście tytułów oraz numerów katalogowych.

The "Melodic Index" attempts a tabulation as a complete as possible not only of the beggining themes of J. S. Bach's works but of those of their melodic design. The "Melodic Index" is divided into two parts: the finding charts and the tabulations of the themes themeselves. In the charts all themes are condensed into short, systematically arrenged formulas. This part may serve as a guide to the melodic index, and the arrengement of both of them will explained presently. In both charts and the tabulations all themes are grouped according to the design formed by their firs three intervals; or, in other words, according to the line formed by their first four notes of different pitch, excluding ornaments. The index contais 3872 themes, 236 more than the previous edition.

Okładka: Gibson Bill, The AudioPro Home Recording Course, Volume 2

cena 263,95 zł.


nuty.pl

 Gibson Bill
 The AudioPro Home Recording Course, Volume 2

polski Domowy kurs rejestracji dźwięku, nagrywania, cz. 2
angielski The AudioPro Home Recording Course, Volume 2


Ilość stron:252
Format:230 x 305
Opracowanie na:książka
Rodzaj produktu:książka + płyta CD
Wersja językowa:angielska
Dostępnośćw magazynie, wysyłka natychmiastowa
Zawartość:

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Kod produktu:NPL078017
Produkty podobne:Gibson Bill - The AudioPro Home Recording Course, Volume 3

Publikacja jest drugą częścią cyklu książek dotyczących nauki tworzenia własnego studia muzycznego. Obecna część jest przeznaczona dla osób z podstawową znajomością pojęć technicznych. Poszczególne lekcje zawierają liczne ilustracje, a także przykłady muzyczne na dołączonych do książki płytach CD. Autor - Let Bill Gibson - przekazuje informacje, których potrzebujesz, aby udoskonalić rejestracje dźwięków za pomocą domowego sprzętu nagrywającego. Całość w języku angielskim.

The AudioPro Home Recording Course was created to familiarise musicians with the fundamentals of studio recording using explanations and examples that are easy to understand.
The text is complemented by hundreds of illustrations and two CDs containing information and audio examples.
Volume two covers: impedance and wiring (high impedance vs. low impedance, terminology, balanced vs. unbalanced); bass guitar (electric/synth, recording, mic techniques, EQ); harmonics/overtones/partials; vocals (recording, mic techniques, effects, EQ); acoustic piano and rhodes (recording, mic techniques, signal processing, sampled sounds, EQ); recording synthesisers (recording, combining textures, EQ, brass); the total recording session (instruments, preparing the recorder, media selection, time code); panning and stereo imaging; mixdown to master product (mixdown machine, tape choice, theories and concepts, setup procedure; building the mix; preparing master for duplication).

Spis treści:

Introduction
Chapter 1 - Impedance and Wiring
Basic Terminology
Compatibility Between Hi Z and Lo Z
Balanced vs. Unbalanced
Basic Terminology
Unbalanced Guitar Cables
Balanced Cables
Conclusion
Chapter 2 - Bass Guitar
Electric Bass
Condition of the Bass
Direct Box / Direct In (DI)
The Bass Level
Instrument Differences
Musical Style
Recording Levels for Bass
Mic Techniques
Compressing the Bass
Equalization
Panning
Reverb
Synth Bass
Plugging the Synth Bass In
Miking the Synth Bass
Performance of the Synth Bass Part
Bass Range and EQ
Compressing the Synth Bass
Recording Level for the Synth Bass
Panning Synth Bass
Effect and the Synth Bass
Acoustic Bass
Close - Miking the String Bass
Conclusion
Chapter 3 - Harmonics / Overtones / Partials
The Difference Between Harmonics, Overtones and Partials
Conclusion
Chapter 4 - Vocals
Mic Techniques
Placement
Distance
Small Room vs. Large Room
Moving - Coil / Ribbon
Condenser
Effects
Stylistic Considerations
Wind Screen
Repairing a Problem Plosive
Electronic Plovive Repair
The Proximity Effect
Bass Roll-off
The Pad
Different Sounds of Different Pickup Patterns
Positioning the Microphone
Compressor / Limiter / Gate / Expander
Dynamic Range
Compression
Sibilance
The De-esser
Equalization
Recording Environment
Physical Aids
Intonation
Headphones
Punch In / Punch Out
Perseverance
Panning
Common Vocal Effects
Delay
Slapback
The Electronic Double
The Electronic Triple
Regeneration
Reverb
Predelay
Exciter
Chorus / Flanger / Phase Shifter
Backing Vocals
Conclusion
Chapter 5 - Acoustic Piano and Rhodes
Grand Piano
The Basics
Mic Choice and Technique
Stereo or Mono
Instrument Maintenance
Setting the Mood
Processing Pano Sounds
No Two Pianos Sound Identical
Recording Levels
Equalizer the Piano
Compressing the Piano
Exciting the Piano
Reverberation
Miking the Vertical Piano
Sampled Piano Sounds
Rhodes - type Sounds
Rhodes Effects
Equalizing the Rhodes
Conclusion
Chapter 6 - Recording Synthesizers
Recording Synths: Strings, Pads, Bell-like Sounds, Brass and Effects
Live in vs. Mic in Through DI
Line In
DI Can Color the Sound Adversely
String and Pads
Layering
Equalizing Pads
Dynamic Processing the Synth
Reverb
Combining Textures
Exciter
Chorus, Flanger, Phase Shifter
Panning
Delay
Bell - like Sounds
Equalizing the Bell - like Sounds
Panning Bell - like Sounds
Compression
Reverb
Chorus / Flanger / Phase Shifter
Brass
Mic Technique
Levels
Brass Samples
Brass Equalization
Panning
Reverb
Exciter
Chorus / Flanger / Phase Shifter
Delay
Special Effects
Conclusion
Chapter 7 - Panning and Stereo Imaging
Speaker Position and Choice
Mic Techniques
The Head
Assignment
3:1 Principle
Panning
Reverberation
Space in a Space
Combining Wet and Dry
Delay
Panning
Chorus/ Flanger / Phase Shifter
Monitors and Your Stereo Image
Conclusion
Chapter 8 - The Total Recording Session
Planning
Tracks
Envision the Final Products
Instrument
Tuning
Strings
Getting the Recorder Ready
Cleaning and Demagnetizing
Demagnetizing the Analog Tape Machine
Cleaning the Analog Recorder
Tones on the Analog Recorder
Tones on the Digital Recorder
Media Selection
Magnetic Tape / Video Tape
Recordable CDs / Hard Drives
Tape Storage Is a Critical Condiseration
Time Code
Striping SMPTE
Getting the Sequencer to Follow SMPTE
Tightening the Arrangement
Contents of Arrangement
Reference Lead Vocal
Backing Vocals
Bounce to Track One
Electric Guitar to Track Four
Punch-Ins
Acoustic Guitar to Track Five
Final Vocal to Track Three
Lead Guitar to Track Six
Conclusion
Chapter 9 - Mixdown to Master to Product
Mixdown Machine
Basic Proceudre for Alignment (Mixdown and Multitrack)
Playback Alignment
Record EQ
Reference Tones
Reference Tone
Starting the Mix / Zeroing the Board
Tape Choice
Outboard Gear to Have on Hand
Tape Speed
Automation
Multiple Sets of Monitors
Comparison to Other Projects
The Spherical Approach to Panning and Positioning in the Mix
EQ: The Cumulative Effect
Mixing Theories and Building Concepts
Mix Approach
The Arrangement
Characteristics of a Good Mix
Strong and Solid, But Controlled, Lows
Mids Distributed Evenly Among Various Instruments
Strong, Smooth Highs That Are Easy to Listen To
Balance
Depth
Width
Momentum
Consistency
Sounds Good in Stereo and Mono
Approaches to Mixing That I've Found Ineffective
Signs of an Amateur Musical Recording
Basic Setup Procedure
Once You Select and Prepare the Multitrack and Mixdown Machines
Arranging During Mixdown
Multiple Mixes
Mix Versions
Building the Mix
Kick Drum / Bass Guitar
Pan the Cymbals for a Natural Sound
Live Toms
Drum Machine Toms
Drum Set Overhands (Live)
Bass
Lead Vocal
Compression
Expander
Vocal EQ
Exciter
Simple Delay
Add Backing Vocals
Comping Keyboards and Rhythm Guitars
Filling in the Holes With the Guitar or Keys
Lead Parts
Solos
Mix Levels
Fades
Preparing the Mixed Master for Duplication
Editing
Mastering
Different Mixes
Conclusion
GLossary
Index




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